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Transnational Community Building in Anglo-, Hispano-, and Francophone Contexts
Writing, Reading and Playing in Programmable Media
Geschichte, Strukturen und Ästhetik einer neuen Mediengattung
Series: machina, 9
Digital Literature in Research and Teaching. A Handbook

perspectives on games. I. Introduction As the conference abstract that motivated this text argued, certain aspects of digitalization, of coproduction and cooperation, and new forms of literary in- teractivity between human beings and machines have been discussed as domi- nant features in a fi eld defi ned by terms like digital literature, internet literature, cyber- and hyperfi ction, e-poetry or interfi ctions. I could well situate my own interests in this fi eld, although there has to be a liberal notion of the category text, which however should be unproblematic

): Exam- ples ranged from the first very simple CD-ROM editions of classical writers—which were nothing more than texts by Kafka, Goethe and others and some illustrations—to some more interesting experiments like otto mops: Auf der Suche nach dem Jandl (1996) or Stehender Sturmlauf: Kafka in Prag (1997) trying to find media-adequate realizations of the originals. - Computerlyrik (‘Computer-aided Poetry’; seminar, 1997) exploring early text and poetry generators such as Ars magna, CAP, POE or Delphi. - Literatur im Internet (‘Literature on the Internet’; seminar


). Dementsprechend spielt auch das ŽŽ keine besondere Rolle. Als ein Resultat seiner Arbeit hebt Gornyj allerdings hervor, dass in zukünftigen Studien »the role of literature in the formation of the Russian Inter- net and the issues of the Internet literature production« zu untersuchen seien (ebd.: 331). Elisa Coati konzentriert sich in ihrer Dissertation Russian Readers and Writers in the Twenty-rst Century: The Internet as a Meeting Point auf die Kommunikation russischer Schriftstellerinnen und Schriftsteller mit ihrem Publikum im Runet, ver- anschaulicht anhand der Beispiele

exist, are less linked to authorial copyright claims, while much digital literature is distrib- uted on a creative commons basis). As Young-Hae Chang Heavy Industries comment: It’s pretty obvious that the “tone” or “voice” of Internet literature is more distant and difficult to “locate” than traditional writing. Mere book packaging tells a lot about the book and the author; browser packaging is generic. Internet writers can either see this as a problem or welcome it as a relief from the critical fashion of reading biography into every aspect of literature